Pete Cosey's Children Of Agharta channels the fusion music of the great Miles Davis band of the early to mid-1970s. They go down many of the same roads blazed by the Davis group of that era when, in fact, Cosey filled the lead guitar chair. Yet simply comparing Cosey's band to the Dark Magus band does not give Children of Agharta its due credit-even if Miles Davis' shadow was particularly long the night of June 21st, when Children of Agharta was in the groove at Club Cave Canem on the Lower East Side. During the performance, Cosey covered two of Davis' songs, Dave Liebman, another member of the Dark Magus band, stopped by, and earlier in the day Liebman and Cosey had recorded an interview and performed together at Davis' old digs on West 77th street.

But Cosey is his own man and had already earned quite a pedigree by the time he joined up with the Man With the Horn in the 70s. Miles Davis hired Cosey to complement his new and increasingly avant-garde band of the mid-70s, to help him infuse his music with raw rock energy, to 'comp behind his musings on wah wah trumpet and organ. Having already played on some of the choicest Chess Records sides of the 60s, helped found Earth, Wind, and Fire, as well as the Association for the Advancement of Creative Musicians, Cosey augmented Davis' new rock inspired directions. Cosey (and Liebman) were central in shaping that hard funk sound with its metallic edge that increasingly characterized Miles Davis' music as the 70s wore on. Even after Davis' change in musical direction during the 80s and after his passing fifteen years ago, still Cosey has not stopped exploring the sound he and the Dark Magus band put together.

When Cosey and Liebman re-imagined "Black Satin" this night at Club Cave Canem to close their set, it morphed into something distinct from its original incarnation. They concentrated more on the rhythm that simmers underneath that famous refrain, centering their explorations around the bass and guitar groove, wringing every last drop out of it, and restraining themselves from launching into the motif that makes "Black Satin" so instantly recognizable. They distilled an essence from the tune easy to miss behind the wah wah, whistling, and hand-clapping motif that jumped off the original wax and made it so, well, distinctive. This is what makes the band so special. They concentrate on building the core, but never become lazily groove- oriented; they manage to keep a raw and even metallic edge that so many groove projects miss. This core is complex, funky, and constantly morphing around the tight pairing of bassist Melvin Gibbs and drummer JT Lewis.

Children of Agharta is not content to create sprawling canvases of sound around that raw core with conventional instruments. The wide assortment of noise-makers, drums, and electronic gizmoetry that Cosey brings to the stage with him tips off his audience to ambitions beyond simply playing blistering guitar. Cosey's imagination transcends the limits imposed by more standard setups and ensembles: he shapes a particular soundscape, heavily reliant on a wide assortment of musical unorthodoxies to bend the sound waves to his will. With his band he has found a set of kindred spirits; a particular highlight of the band is the seamless integration of Johnny Rosado (DJ Juice) into the sound.

With Rosado, "So What," a 1959 song that often lends itself to hoary, sterile versions, came off without a hitch that evening, reminding us why the song became a standard in the first place. Another standout moment came when the band reworked Willie Dixon's "Seventh Son"-this time led by Pete Cosey thunking out the rhythm on Sansa, or African thumb piano. Innovation, not simply novelty, defines Mr. Cosey's work.

The evening felt good, complemented by the geniality and cordiality of Mr. Cosey as well a sort of seedy coziness that characterized the Cave Canem, a place where bohemians, transgenders, and music fans alike might feel welcome. This is the kind of Lower East Side joint that comes to us unaltered from the turn of the last century, the kind of place where a wrong turn on the way to the john might land you in a peepshow, or where they feature taxi dancing on off nights. Adding to the irie feeling of the place was the lackadaisical pace of the band, management, and even the friends that filled the audience in that little cellar room. The 9:30 showtime ended up as more of a suggestion than some kind of hard and fast ultimatum. We had an extra hour to enjoy the selector as the little cellar room slowly filled up. Cosey and company certainly did not rush to get on with the show. Plastic Rite Aid bags full of gear and pedals remained unpacked and unplugged until at least a half an hour after the scheduled showtime. Nor, when Mr. Cosey was ready to begin was the selector quick to pass the mic or his bandmates anywhere to be found.

I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good

I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.